The falsetto is still a thing of wonder. Part bird call, part incantation, it shimmered with soulful flair, reminding a largely Brazilian crowd that it was in the presence of greatness.

Its arrival lifted the mood; despite Milton Nascimento’s reputation as the man who ended Brazil’s bossa nova phase with his mix of Africanised jazz and South American folk; despite his vast back catalogue of inventive, melodic albums and his work with the likes of Wayne Shorter and Herbie Hancock, the first half hour of last night’s concert might have been phoned in from a landline in Rio.

Nascimento — who turns 71 next Saturday — proved a slow burner. Stiff and careful in his black suit, his eyes hidden behind dark glasses, his hair the same neat cornrow bob, he let his slick Wings-like five-piece carry him through versions of early hits including the upbeat samba Bola de Meia, Bola de Gude.

For a while he seemed more comfortable as bandleader: playing minimalist piano, duelling with his acoustic guitar, standing with his back to the audience as he watched a solo. But then came the ethereal Encontros e Despedidas, with that magical upper register, and it was as if someone had flicked a switch.

Cancao da America saw him perched on a high chair, conducting the crowd as they sang the words; he beamed throughout his usual encore, Maria Maria.

The closer, Lua Girou, an achingly beautiful Bahia folk song with the crowd on backing vocals and that falsetto soaring above them, redeemed Nascimento completely.